Tag: Poem

Oft in the Stilly Night by Thomas Moore

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Thomas Moore (1779–1852) was an Irish poet and composer and a friend of Byron and Shelley. Oft in the Stilly Nightwas part of his major poetic work, Irish Melodies, a group of 130 poems set to music, some of which was by Moore himself. Performances of these in London created interest in the Irish Nationalist cause.

I suppose we have to wonder whether this should be considered a poem or a song lyric. I came across it in The Oxford Book of English Verse. I have never heard the musical version. It was chosen for that volume by Sir Arthur Quiller-Couch, where he gave it the title The Light of Other Days. But then, he included quite a lot of verses that might be considered songs, many of them by that old favourite “Anonymous”.

Song lyric or poem, it is powerfully nostalgic, with the “slumber’s chain” metaphor nicely extended to describe “the friends, so linked together”. I find it rather similar to The Old Familiar Faces by Henry Lamb and it speaks to the same emotions.  What starts as “Fond memory” becomes “Sad memory”.     

Oft in the Stilly Night by Thomas Moore

Oft, in the stilly night,
Ere slumber’s chain has bound me,
Fond memory brings the light
Of other days around me;
The smiles, the tears,
Of boyhood’s years,
The words of love then spoken;
The eyes that shone,
Now dimm’d and gone,
The cheerful hearts now broken!
Thus, in the stilly night
Ere slumber’s chain hath bound me,
Sad memory brings the light
Of other days around me.

When I remember all
The friends, so link’d together,
I’ve seen around me fall,
Like leaves in wintry weather;
I feel like one
Who treads alone
Some banquet-hall deserted,
Whose lights are fled,
Whose garlands dead,
And all but he departed!
Thus, in the stilly night,
Ere slumber’s chain has bound me,
Sad memory brings the light
Of other days around me.

Messmates by Henry Newbolt

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Henry Newbolt’s naval poems of the late nineteenth century often tend to be rousing ballads that celebrate Britain’s naval history. They tell tales of great admirals and famous battles of the past. Messmates is a bit different though, closer to Kipling perhaps in its concentration on the ordinary seaman and rather sadder in tone.

A word about the maritime language used here. “Watch” is roughly equivalent to “shift”, the division of time on board ship. But it also means the team to which a sailor is allocated, so keeping a “lone watch” emphasises the isolation of the man who has died and been buried at sea. And on a sailing ship, the mess was the area in which a group of men lived, ate and slept, so a messmate was a member of a close-knit team.

The page layout and spacing is Newbolt’s own and I have taken it directly from Collected Poems 1897–1907.

Messmates by Henry Newbolt

He gave us all a good-bye cheerily
   At the first dawn of day;
We dropped him down the side full
      drearily
When the light died away.
It’s a dead dark watch that he’s
      a-keeping there,
And a long, long night that lags
      a-creeping there,
Where the Trades and the tides roll
      over him
   And the great ships go by.

He’s there alone with green seas
      rocking him
   For a thousand miles round;
He’s there alone with dumb things
      mocking him,
And we’re homeward bound.
It’s a long, lone watch that he’s
      a-keeping there,
And a dead cold night that lags
      a-creeping there
While the months and the years
      roll over him
   And the great ships go by.

I wonder if the tramps come near
      enough
   As they thrash to and fro,
And the battle-ships’ bells ring clear
      enough
   To be heard down below;
If through all the lone watch that
      he’s a-keeping there,
And the long, cold night that lags
      a-creeping there,
The voices of the sailor-men shall
      comfort him
   When the great ships go by.

The Old Year by John Clare

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This one speaks for itself, really. I was looking for a poem for the New Year. I felt that I couldn’t use Tennyson’s Ring Out, Wild Bells again, so I had a look and found The Old Year by John Clare (1793–1864).

John Clare is probably best known today for two things. The first of these is that he had some kind of mental breakdown that led to him spending the later part of his life in what was then known as an asylum. It was during this time that he wrote his well-known poem I Am.

The second is that in 1841 he absconded from the asylum in Essex and walked the eighty miles back to his home at Northborough in North Cambridgeshire. It took him four days.

In the poem below, I assume that the word “cot” in the second verse is short for “cottage”. The “time once torn away” line makes me wonder if Philip Larkin was inspired by this poem for the line “time torn off unused” in his poem Aubade.

The Old Year by John Clare

The Old Year’s gone away
     To nothingness and night:
We cannot find him all the day
     Nor hear him in the night:
He left no footstep, mark or place
     In either shade or sun:
The last year he’d a neighbour’s face,
     In this he’s known by none.

All nothing everywhere:
     Mists we on mornings see
Have more of substance when they’re here
     And more of form than he.
He was a friend by every fire,
     In every cot and hall–
A guest to every heart’s desire,
     And now he’s nought at all.

Old papers thrown away,
     Old garments cast aside,
The talk of yesterday,
     Are things identified;
But time once torn away
     No voices can recall:
The eve of New Year’s Day
     Left the Old Year lost to all.

    

Old Man at a Cricket Match by Norman Nicholson

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I found Old Man at a Cricket Match by Norman Nicholson (1914–1987) online almost by chance. I had never heard of this fine poet, but a little research reveals that he lived almost all of his life in the town of Millom in Cumbria, where he was born.

He was not part of any poetic trend, movement or literary “school”, although he was influenced in his depiction of the northern landscape by W H Auden. He had no real connection with the London literary world, although he was published by Faber. I suspect that, like a few other poets, he might have been discovered and encouraged by T S Eliot.

He seems to me to be the poetic equivalent of the kind of painter who is dismissed with a sneer as “provincial”. But as Robert Frost put it: “In order to be universal, you must first be provincial”. I think Nicholson’s poetry deserves to be much more widely known.

I like the vivid imagery in this poem and the slightly unusual use of language, the word “mending” perhaps being part of the local dialect.

I’m not quite sure when the poem was written. I’ve seen it dated 1956, and I believe it was included in Nicholson’s 1972 collection, A Local Habitation, which takes its title from lines in A Midsummer Night’s Dream: “. . . .and gives to airy nothing/A local habitation and a name.”    

Old Man at a Cricket Match by Norman Nicholson

‘It’s mending worse,’ he said,
             Bending west his head,
Strands of anxiety ravelled like old rope,
     Skitter of rain on the scorer’s shed
                 His only hope.

             Seven down for forty-five,
             Catches like stings from a hive,
And every man on the boundary appealing —
     An evening when it’s bad to be alive,
                 And the swifts squealing.

             Yet without boo or curse
             He waits leg-break or hearse,
Obedient in each to law and letter —
     Life and the weather mending worse,
                 Or worsening better.

High Wood by John Stanley Purvis (Philip Johnstone)

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I found this poem printed in a copy of The Old Front Line by John Masefield. It’s quite appropriate that it should be there because it uses a similar conceit. Just as Masefield describes the 1916 Somme battlefield from an imagined future after the war has ended, High Wood imagines the old trenches becoming a tourist attraction in peacetime.  

John Stanley Purvis wrote it under his pseudonym of Philip Johnstone in 1918. He served as a lieutenant in the war and was invalided out of the army after the battle of the Somme. It took the British three months to capture the German stronghold of High Wood in that battle.

He is not particularly well-known among the Great War poets, but deserves to be remembered for this striking poem. Its realistic and cynical tone still seems modern, resembling the work of Siegfried Sassoon, perhaps, rather than any of the other famous names.

It’s a reminder of how the first world war is the dividing line between two different ways of thinking about war and that after poems like High Wood, it was no longer possible for the more heroic sort of war poems, such as those by Tennyson or Newbolt, to be written.   

The poem has gained in force, because today we can see that exactly what he predicted came true. And after all this time tourists still visit the first world war battlefields.

High Wood by John Stanley Purvis (Philip Johnstone)

Ladies and gentlemen, this is High Wood,
Called by the French, Bois des Fourneaux,
The famous spot which in Nineteen-Sixteen,
July, August and September was the scene
Of long and bitterly contested strife,
By reason of its High commanding site.
Observe the effect of shell-fire in the trees
Standing and fallen; here is wire; this trench
For months inhabited, twelve times changed hands;
(They soon fall in), used later as a grave.
It has been said on good authority
That in the fighting for this patch of wood
Were killed somewhere above eight thousand men,
Of whom the greater part were buried here,
This mound on which you stand being…
                                                            Madame, please,

You are requested kindly not to touch
Or take away the Company’s property
As souvenirs; you’ll find we have on sale
A large variety, all guaranteed.
As I was saying, all is as it was,
This is an unknown British officer,
The tunic having lately rotten off.
Please follow me – this way…
                                                the path, sir, please,

The ground which was secured at great expense
The Company keeps absolutely untouched
And in that dug-out (genuine) we provide
Refreshments at a reasonable rate.
You are requested not to leave about
Paper, or ginger-beer bottles, or orange-peel,
There are waste-paper baskets at the gate.

1918

Echo by Lawrence Durrell

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Lawrence Durrell (1912–1990) was a very versatile writer. He is probably most famous today for his Alexandria Quartet novels. He was also a renowned travel writer, specialising in the Mediterranean area that he knew and loved so well.

I particularly like Bitter Lemons, his memoir of his time in Cyprus during the political upheavals of the 1950s. Another of my favourites of his is White Eagles Over Serbia, an excellent Cold War era spy story in the outdoor adventure style of John Buchan. 

His striking, painterly prose style tells you immediately that whatever genre he was working in he was primarily a poet. It’s quite odd, then, that when I have read his poetry, I have tended to find it somewhat lacking in comparison to his prose works.

The short poem below is a welcome exception. I came across it by chance the other day and I really like it. It has to be heard to be fully appreciated, as the beautiful internal rhymes act out the theme of the poem.        

Echo by Lawrence Durrell

Nothing is lost, sweet self,
Nothing is ever lost.
The unspoken word
Is not exhausted but can be heard.
Music that stains
The silence remains
O echo is everywhere, the unbeckonable bird!

A Smuggler’s Song by Rudyard Kipling

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When I watched Wimbledon on the TV not so long ago, a virtual tour of the clubhouse revealed those words of Kipling’s that the players see before they walk on to the Centre Court: “If you can meet those two imposters, triumph and disaster, and treat them just the same.”

That reminded me of one of my favourite Kipling poems, A Smuggler’s Song.

When Kipling returned from India and settled in Sussex, he saw the English countryside and its history with an outsider’s eye. His two books of historical stories set there are the sort of children’s books that are not really intended just for children. They contain some of his finest poems. A Tree Song, Cities and Thrones and Powers, and A Smuggler’s Song are in Puck of Pook’s Hill. If, The Way Through the Woods, and The Thousandth Man are in Rewards and Fairies.

A Smuggler’s Song poem is wonderfully evocative, with its rhythm capturing the movement of the ponies. It brings a clear picture of the night time activities of the “gentlemen” to mind. The world depicted here is the eighteenth century Dymchurch that Russell Thorndike wrote about in his Doctor Syn stories.

A Smuggler’s Song by Rudyard Kipling

If you wake at midnight, and hear a horse’s feet,
Don’t go drawing back the blind, or looking in the street;
Them that ask no questions isn’t told a lie.
Watch the wall, my darling, while the Gentlemen go by!

Five and twenty ponies,
Trotting through the dark —
Brandy for the Parson,
Baccy for the Clerk;
Laces for a lady, letters for a spy,
And watch the wall, my darling,
While the Gentlemen go by!

Running round the woodlump if you chance to find
Little barrels, roped and tarred, all full of brandy-wine,
Don’t you shout to come and look, nor use ’em for your play.
Put the brishwood back again — and they’ll be gone next day!

If you see the stable-door setting open wide;
If you see a tired horse lying down inside;
If your mother mends a coat cut about and tore;
If the lining’s wet and warm — don’t you ask no more!

If you meet King George’s men, dressed in blue and red,
You be careful what you say, and mindful what is said.
If they call you “pretty maid,” and chuck you ‘neath the chin,
Don’t you tell where no one is, nor yet where no one’s been!

Knocks and footsteps round the house — whistles after dark —
You’ve no call for running out till the house-dogs bark.
Trusty’s here, and Pincher’s here, and see how dumb they lie —
They don’t fret to follow when the Gentlemen go by!

If you do as you’ve been told, ‘likely there’s a chance,
You’ll be given a dainty doll, all the way from France,
With a cap of Valenciennes, and a velvet hood —
A present from the Gentlemen, along o’ being good!

Five and twenty ponies,
Trotting through the dark —
Brandy for the Parson,
‘Baccy for the Clerk;
Them that asks no questions isn’t told a lie —
Watch the wall, my darling,
While the Gentlemen go by!  

On Eastnor Knoll by John Masefield

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Here’s another poem by John Masefield (1878–1967), Poet Laureate from 1930 to 1967.

It’s the sort of poem you can easily overlook and dismiss as a typical pastoral piece. Repeated readings, though, reveal some lovely sound effects and the feeling that the sunset symbolises something else.  

As with other Masefield poems that have a rural setting, it’s not clear where we are in time. I had assumed that it was written during the first world war and was a sort of coded reference to that conflict. I was surprised to find out that it was actually written earlier, around the time of the Boer war.

Is it actually the British Empire on which the sun is metaphorically setting? Or is it just a memorable image of a country sunset with words taking the place of paints?

Perhaps it has a more personal meaning because Eastnor is in Herefordshire, near Ledbury where Masefield was born and spent his early years.

On Eastnor Knoll by John Masefield

Silent are the woods, and the dim green boughs are
Hushed in the twilight: yonder, in the path through
The apple orchard, is a tired plough-boy
Calling the cows home.

A bright white star blinks, the pale moon rounds, but
Still the red, lurid wreckage of the sunset
Smoulders in smoky fire, and burns on
The misty hill-tops.

Ghostly it grows, and darker, the burning
Fades into smoke, and now the gusty oaks are
A silent army of phantoms thronging
A land of shadows.

To Others Than You by Dylan Thomas

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I’m never quite sure whether or not I like the poetry of Dylan Thomas (1914–1953). These days, he’s in danger of becoming one of those poets, like Byron or Rupert Brooke, whose life and premature death overshadows what they wrote.

It’s hard to know where to “place” Thomas; he was a bit of a one-off. There’s no doubt that he had a very individual and unusual way of writing, perhaps showing the influence of the Welsh language. The poem below is densely packed with imagery, a sort of extended metaphor to do with money and fairground attractions.

This evocation of conjuring tricks is entirely appropriate for the theme of false friendship, of looking back and realising that one’s friends were not quite what one took them to be at the time.

I don’t know about Thomas’ work in general, but I admire this poem very much, both for what it says and the way it says it.    

To Others Than You by Dylan Thomas

Friend by enemy I call you out.

You with a bad coin in your socket,
You my friend there with a winning air
Who palmed the lie on me when you looked
Brassily at my shyest secret,
Enticed with twinkling bits of the eye
Till the sweet tooth of my love bit dry,
Rasped at last, and I stumbled and sucked,
Whom now I conjure to stand as thief
In the memory worked by mirrors,
With unforgettably smiling act,
Quickness of hand in the velvet glove
And my whole heart under your hammer,
Were once such a creature, so gay and frank
A desireless familiar
I never thought to utter or think
While you displaced a truth in the air,

That though I loved them for their faults
As much as for their good,
My friends were enemies on stilts
With their heads in a cunning cloud.

To His Mother, CLM by John Masefield

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John Masefield (1878–1967) had a long and productive writing life. He was the Poet Laureate from 1930 until his death, but today he is perhaps best known for his children’s stories.

His own childhood, though was far from happy. Masefield’s mother died giving birth to his sister when he was six years old and his father died soon afterwards. He did not get on with the aunt he lived with and he attended a boarding school at which he was unhappy.

It was his aunt who decided he should pursue a career in the merchant navy and he was sent to a training ship at the age of thirteen. It was during his time there that he discovered his love of poetry and storytelling, setting him on the path to becoming a well-known writer. He was never really healthy enough for a maritime career and he left the sea, with his first book of poems published in 1902.

This poignant poem about his mother is from 1912 and is deeply personal, the attitude to birth and death reflecting his own sad experience and sense of guilt. The view of women expressed here feels quite ahead of its time.

To His Mother, CLM by John Masefield

In the dark womb where I began
My mother’s life made me a man.
Through all the months of human birth
Her beauty fed my common earth.
I cannot see, nor breathe, nor stir,
But through the death of some of her.

Down in the darkness of the grave
She cannot see the life she gave.
For all her love, she cannot tell
Whether I use it ill or well,
Nor knock at dusty doors to find
Her beauty dusty in the mind.

If the grave’s gates could be undone,
She would not know her little son,
I am so grown. If we should meet,
She would pass by me in the street,
Unless my soul’s face let her see
My sense of what she did for me.

What have I done, or tried, or said
In thanks to that dear woman dead?
Men triumph over women still,
Men trample women’s rights at will.
And man’s lust roves the world untamed.
O grave, keep shut lest I be shamed.

What have I done to keep in mind
My debt to her and womankind?
What woman’s happier life repays
Her for those months of wretched days?
For all my mouthless body leeched
Ere Birth’s releasing hell was reached?

What have I done, or tried, or said
In thanks to that dear woman dead?
Men triumph over women still,
Men trample women’s rights at will.
And man’s lust roves the world untamed.
O grave, keep shut lest I be shamed.